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Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 Electronic List 98: Modern Art New York Antiquarian Book Fair 2014

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Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 Electronic List 98: Modern Art New York Antiquarian Book Fair 2014 ARS LIBRI NEW YORK ANTIQUARIAN BOOK FAIR 2014 MODERN ART Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 [email protected] / www.arslibri.com / tel 617.357.5212 / fax 617.338.5763 Electronic List 98: Modern Art New York Antiquarian Book Fair 2014 1 ARP, HANS. Die Wolkenpumpe. (Sammlung “Die Silbergäule.” Band 50-51 [vere 52/53].) (28)pp. Sm. 4to. Orig. wraps., printed in black with a cover design by Arp. “Cloud-Pump,” Arp‘s first book of verse. Some of the poems were written as early as 1911; read at the Dada soirée at the Salle Kaufleuten, 9 April 1919, they were first published in “Dada 4-5: Anthologie Dada.” A little light creasing and wear. Hannover (Paul Steegemann), 1920. $2,500.00 Rolandseck 86, illus. p. 61; Bleikasten Aa15; Dada Zürich 66; Motherwell/Karpel 196; Verkauf p. 176; Pompidou: Dada 1213, illus. p. 908; Wilpert-Gühring 3; Meyer: Paul Steegemann Verlag 26 ARS LIBRI 2 NEW YORK ANTIQUARIAN BOOK FAIR 2014 MODERN ART 2 BEUYS, JOSEPH & Brodmann, Jürg. Fettbriefe [Fat Letters]. Edition of 125 copies. 5 sheets of letterhead stationery for the Stiftung zur Förderung der Kuenste (and Fundaziun per Promover igl Art), each stained with fat, and each signed in full by Beuys in blue ink at lower right; each numbered IV/2.2-097/125 in pencil on the verso. Together with: “Zertificat bezüglich Opus Nr. IV/2.2. - 097/125,” an elaborate formal certificate with mounted embossed paper seal, fully signed by Beuys in black ink, and signed twice by Brodmann and dated 24. September 1973 1.37 in his hand. Sheet size: 295 x 208 mm. (ca. 11 5/8 x 8 1/4 inches). Loose guards (blank second sheets of stationery). Heidelberg (Edition Staeck), 1973. $4,500.00 Schellmann 77 ARS LIBRI 3 NEW YORK ANTIQUARIAN BOOK FAIR 2014 MODERN ART 2 BOMBERG, DAVID. Russian Ballet. 6 original color lithographs on cream wove stock, with text on versos, constituting the full suite of prints, without the original wrappers and one unillustrated leaf of text. Sm. 4to. Edition estimated at about 100 copies, printed by the artist himself. A special copy, presumably a proof, in which line versions of two of the lithographs appear on the versos of two plates, presenting a reversed monochrome state of the prints without the addition of color. We have no record of other copies with these show-through black-and-white images, which amplify the structure of Bomberg’s compositions. “Bomberg’s work was in his ‘constructive-geometric’ style which he had developed before 1914. The drawings were apparently done before the war and lithographed at the time of Diaghilev’s visit to London with his ballet. The dealer Jacob Mendelsen brought Diaghilev, Bomberg and Henderson, the owner of the Bomb Shop, together to plan the publication, and financed it himself. Bomberg stated that he printed the lithographs himself with his own blank verse poems in seven printings, and that the abstract drawings had been done on the inspiration of the ballet itself. Diaghilev objected to Bomberg’s efforts to sell the publication like a programme at 2s.6d. a time” (Manet to Hockney). The book is arranged as a sequence of double-page compositions of text and image. “Methodic discord startles.../ Insistent snatchings drag fancy from space,/ Fluttering white hands beat — compel. Reason concedes./ Impressions crowding collide with movement round us — / — the curtain falls — the created illusion escapes./ The mind clamped fast captures only a fragment, for new illusion.” Two of the images are printed vertically on the page, though evidently conceived as horizontal, as indicated by the artist's initials. The plates presented in a single mat to show the lithographs. A few smudges on title-page, a few edges slightly creased, generally clean and crisp. London (Hendersons), 1919. $8,500.00 Castleman p. 143; Manet to Hockney 46; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, pp. 90, 94 illus. 87 ARS LIBRI 4 NEW YORK ANTIQUARIAN BOOK FAIR 2014 MODERN ART 4 BRECHT, GEORGE. Nectarine. An assemblage comprising ten experimental meetings on 10 Tuesdays at 9AM beginning June 12 at 80 Jefferson St. New York City. Folding mimeographed circular, printed on recto only, enclosed with a printed card in a small envelope. Circular: 215 x 138 mm.(ca. 8 1/2 x 5 1/2 inches). Envelope: 100 x 165 mm. (3 5/8 x 6 1/2 inches). “Brecht also stored work and tested out events at a loft-space he shared with his friend Robert Watts in New York.... Since New York offered many more sympathetic participants close at hand, the Jefferson Street loft was an ideal site for a series of events Brecht called ‘Nectarine.’ He advertised this as ‘ten experimental meetings on 10 Tuesdays’ with ‘involvement by sending $29 and two solutions to the anagram NECTARINE.’ This call for the participation of friends in New York was the beginning of a collaborative turn in Brecht’s conception of his work” (“George Brecht Events: Eine Heterospektive”). Following the announcement details on the flyer is the text “J. doors cat/ play glass hat/ coffee hearts/ moisture eyes/ chairs letters/ air diamonds/ nothing talk/ shuffling horn/ mirrors trains/ telephones/ oranges.” The accompanying score card, irregularly shaped, is imprinted “suppose / sup pose” on one side; on the other, printed in orange, is the letter D surrounded by a dizzying field of concentric circles. This example is hand-addressed by Brecht to E.M. Plunkett, a mail art collector, in New York City, and postmarked May 18, 1962. Another example illustrated in the foregoing, addressed to the Fluxus artist Albert M. Fine, is also postmarked on this day. Small coffeestain on the flyer. Rare. Metuchen, N.J., 1962. $650.00 Robinson, Julia: George Brecht Events: Eine Heterospektive. Hrsg. v. Alfred M. Fischer (Museum Ludwig, Köln, 2005), no. 75, illus. p. 99; Gagosian Gallery: George Brecht: Works from 1959-1973 (London, 2004), p. 70 ARS LIBRI 5 NEW YORK ANTIQUARIAN BOOK FAIR 2014 MODERN ART 5 BRECHT, GEORGE & WATTS, ROBERT. Maytime. [Yam Festival Calendar. Maytime/Yam Time.] Double-sided broadside graphic calendar, printed in blue and green on white stock. 558 x 215 mm. (circa 22 x 8 1/2 inches). Prof. illus., with photocollages and freehand illustrations, appropriated nineteenth-century and modern commercial advertisements, typographic caprices, and other elements. A calendar of events and recommended activities for the May 1963 Yam Festival, edited and designed by Brecht and Watts. Featured--on Clock Day, Box Day, Yam Hat Sale, Balloon Day, Necktie Day, Water Day, Food Day, Key Day and others-- was a hectic agenda spread across New York and New Jersey throughout the month. “Yam Day,” at the Hardware Poet’s Playhouse over the weekend of 11-12 May, included performances and projects by George Brecht, Robert Breer, John Cage, Robert Filliou, Red Grooms, Rudy Burckhardt, Al Hansen, Dick Higgins, Ray Johnson, Joe Jones, Alison Knowles, George Maciunas, Jackson Mac Low, Ben Patterson, Yvonne Rainer, Stan Vanderbeek, Robert Watts, James Waring, Diane Wakoski, Emmett Williams, LaMonte Young and others; another major event, “Segal’s Farm,” was held on the 19th, “with a Happening by Allen Kaprow, dance by Yvonne Rainer, Decoll/age by Vostell, Music by LaMonte Young, + All Kinds of Trouble by Dick Higgins” at the New Jersey farm of the sculptor George Segal. An incunable of Fluxus, predating George Maciunas’ return from West Germany. Folded, presumably as mailed. Recto a little browned in one portion, otherwise very fine. [New York, 1963]. $2,000.00 Happening & Fluxus 01.05.63--31.05.63; Milman, Estera (ed.): Fluxus: A Conceptual Country (Visible Language, Vol. 26, No. 1/2, 1992), p. 239 ARS LIBRI 6 NEW YORK ANTIQUARIAN BOOK FAIR 2014 MODERN ART 6 BRETON, ANDRÉ. Le surréalisme et la peinture. Suivi de ‘Genèse et perspective artistiques du surréalisme,’ et de fragments inédits. 203, (1)pp., 69 plates (5 color). 4to. Dec. cloth. Breton’s text is brought quite up to date, with commentary on Kahlo, Lam, Donati, Cornell and, especially, Gorky, among others. Martica Sawin notes that to promote this new edition, Enrico Donati, together with Duchamp and Matta, installed a special display in the window of Brentano’s flagship store on Fifth Avenue, including a three-dimensional version of the Magritte on the cover. An historic presentation copy, inscribed “A James Johnson Sweeney/ nôtre meilleur compagnon d’armes, hommage très amical d’/ André Breton/ New York 1er octobre 1945” in blue ink on the half-title. Sweeney, distinguished curator at the Museum of Modern Art and later director of the Guggenheim, was, in the war years, a friend and ally of the European surrealist exile community in New York, and wrote extensively on Surrealist topics (having also served as editor-in-chief of “Transition” in earlier years). New York (Brentano’s), 1945. $1,500.00 Sheringham Aa360; Pompidou: Breton p. 363; Gershman p. 9; Sawin p. 376; Rubin 138; Milano p. 655 ARS LIBRI 7 NEW YORK ANTIQUARIAN BOOK FAIR 2014 MODERN ART 7 (BRETON) BATAILLE, GEORGES, ET AL. Un cadavre. (4)pp. (single sheet folding), printed on blue paper. Halftone cover illustration of Breton in a crown of thorns. 368 x 318 mm. (ca. 14 1/2 x 12 1/2 inches). Folio. Self-wraps. A vitriolic group denunciation of Breton, brought together in January 1930 by Georges Bataille, in response to Breton’s excoriation of his review “Documents.” “Those denounced and excommunicated in the ‘Second Manifesto,’ most of whom had already left the movement at least by the spring of 1929, were followed by others, like Prévert and Queneau, who had subsequently contributed, even briefly, to ‘Documents.’ Bataille masterminded the pamphlet ‘Un cadavre’ (ironically modeled on the surrealists’ 1924 pamphlet of the same name attacking Anatole France), which is a bitter denunciation of Breton, pictured in the front as a martyred Christ, and is signed by the dissident surrealists, Limbour, Morise, Baron, Leiris, Queneau, J.A.
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